ELECTION 2 (2006)
There are a few old clichés that might describe this sequel to Johnnie To's previous triad thriller. Perhaps desperate times call for desperate measures? Or maybe that old idea that it's not personal, it's just business. But the dark reality is that the results are much less about a series of expected tropes, and more about the brutal and cold world the characters inhabit. Some of it might go beyond even what fans of the first instalment might be expecting. Ideas about unity, tradition, and honour are still bandied about during the opening history lesson. But by this stage it's clearly all just a cynical veneer being laid over a lot of truly nasty ambitions. The kind of principles discussed last time around are not going to make a come back.
This time Jimmy (Loius Koo) takes a more central role over triad leader Lok (Simon Yam) as the latter comes to the end of his term as chairman. Jimmy is on the up and up, and has gained a lot of new lofty ideas about going legit as a businessman on the mainland. He's going to settle down and build a house and have a family. But as he soon finds out there's no real place for those who want to quit and do something respectable. There's also no place for those without a ruthless nature. Jimmy might seem soft at first, particularly when dealing with returning lunatic Jet (Nick Cheung) who is still a twitchy killer for hire. But as things progress he finds that doing things the honourable way may be impossible.
Elsewhere Lok's grasp on his position is only tightening after so much talk about it being a one term position. Underlings like Jet and Kun (Ka-Tung Lam) are moved around like pawns, often towards danger, so that he can deal with his rivals to power once again. But the gloves are off and the curtains have been torn down. There are less meetings in the shadows now, it's all out in the open. The film itself feels more green and vibrant, without so much cigarette smoke. Acts of sudden violence are done in broad daylight and deals are made in public spaces. But the lack of visual darkness somehow makes this all so much more bleak once the power plays begin and the old ways are thrown out entirely.
Old mentors like Uncle Teng (Tian-Lin Wang) are also tossed aside, in some cases literally, while faithful goons like Big Head (Lam Suet) are flung into coffins alive just to help others play the long game. The spectre of death lingers throughout, even while Lok and Jimmy discuss family matters. Deals are made only to be broken and those talking about learning 'to let go' of power are dealt with harshly. There are a lot of droning sounds and sad violin motifs in the score just to underline this overall atmosphere of tragedy and decay. Even the dragon baton everyone wanted so badly previously ends up being buried. New allies and new ways of doing things become impossible to avoid as time goes on, but most of the characters can't see it coming.
The realisation (all too late) that things are fated to go badly is a recurring theme throughout. Jet, often cut and bleeding for reasons left off screen, isn't as dumb as he looks in the end. But he can't avoid his role as a lackey, running to and from different scenes of violence. Jimmy must sacrifice one of his friends to appease the society elders, and must also let go of his legitimate schemes when it becomes obvious that only triad leaders can do business with the mainland authorities. The idea of law and justice is warped even beyond the events of part one. The idea of a father and son legacy is also distorted into a tragedy instead of part of a wholesome family drama. It's too late for the old ways to be passed on when so many of them have been disposed of.
Images of isolation and bloody money sell this as a hopeless way of life. Of course there is also a lot of bloodshed in general, as the line between man and dog is blurred. Once Jimmy has cast aside his ideals and aspirations things get even more gruelling. Hammers and meat cleavers become the tools of his trade, not fountain pens and handshakes. The stark imagery as things progress into darker territory is often shocking, with ideals about unity between brothers left as a distant memory. It's a story that features a lot of boxes and cages, some physical and others figurative. It's probably no coincidence that the hill Jimmy wants to build a house on resembles the hill on which the triad leaders got packed into crates and rolled down last time.
The overall message of the story is occasionally ironic and occasionally comedic, but in the very darkest sense. All the plans and manoeuvres are ultimately just a trap, with things like ambition and family being another chess piece ready to be traded or exploited. It's a harsh but compelling story about people using one another in a desperate attempt to gain power, only to see the reality of things when it's too late to get away. In the end allies and enemies are much the same as Jimmy finds out that he will get what's coming to him... but not in the ways he imagined. The fate of some of the other society members isn't even shown at all as they vanish in the back of cars or down dark city streets. But it's still a satisfying, if ultimately harrowing drama which builds on its predecessor and makes both essential viewing.
4/5
BONUS REVIEW
THE MISSION (1999)
On the other hand this is a far less satisfying crime story, in terms of structure and characters. There's also a lot of incredibly odd music, composed with some sort of fake horn samples. The sort you'd find a videogame from about six years earlier, or like something out of Albert Pyun's Mean Guns. Of course all this weirdness is very intentional, and there are plenty of fans of this film out there. A film with a real lack of energy, from the action scenes to the assassination attempts. But personally I found this too difficult to engage with for all sorts of reasons, from the confusing sniper set pieces to the recurring cigarette gags. There's a lack of drive to it all, which is odd for a triad ensemble story from this era.
Now the message here may just be that bodyguard work isn't exciting at all. But when big boss Mr. Lung (Eddy Ko) is the target of a rival group, perhaps more actual investigation and decisive action should be happening? Especially if you're recruiting eclectic characters like barber Curtis (Anthony Wong) and pistachio chewing James (Lam Suet) to the team. It's the kind of meandering lackadaisical approach that worked much better a few years down the line in PTU. But everything feels so randomly constructed, from the opening nightclub shoot out (which isn't shown) to the escalator battle (which shows too much).
After not one but two sniper battles in which the boys fail to realise that small arms can't reach a rifle position, it's clear this isn't an action flick. So there is a valid argument that this is just a strange hang out movie. But it's hard to care when the only plot development is an affair with the boss's wife (also not shown) during the third act, leading to in-fighting and betrayal. The mastermind behind the assassination is randomly revealed and then dispatched instantly, and any ideas about brotherhood and loyalty are barely even discussed. Even the final poignant note might have led somewhere if it wasn't for a sudden fake-out ending. Maybe I'm just not getting the appeal, which could sink in on repeat viewings. But I'm not convinced.
2/5
